Sidney Nolan’s Ned Kelly series 2 Sidney Nolan’s Ned Kelly series 4 Foreword It is the National Gallery of Australia’s aim to contribute Ned Kelly. Likewise, authors such as Peter Carey, who wrote significantly to the nation’s cultural enrichment and for every the Booker Prize-winning novel The true history of the Kelly Australian to experience their National Gallery of Australia, Gang (2000), have looked to bushranging history as source wherever they may be. Since its official launch in 1988, material for contemporary historical fiction. In painting the National Gallery’s travelling exhibitions program has these works, Sidney Nolan drew on critical primary source seen almost 11 million people visit more than 130 travelling documents, and many authors and historians have drawn exhibitions at 1,595 venues in all states and territories and, their inspiration from both the paintings and the writings. occasionally, overseas. This represents well over 8,800 works As a group, and as individual paintings, they still hold of art that have reached Australians in their communities. enormous relevance today, providing a master class on These visitors have enjoyed the opportunity to connect with Australian art history and on the development of figuration, the national collection, with this connection being made landscape painting and abstraction in Australian art. more meaningful through the range of education and public By being able to view this important group of paintings programs that accompany these exhibitions. Through this about history, landscape and mythology firsthand, new program, we foster professional exchanges between galleries generations of emerging Australian artists, authors and and museums and arts professionals on a wide range of historians will be provided with a fresh way of interpreting museological matters. Australian artistic expression. The NGA is proud to launch the national tour of Sidney It is our role to provide all Australians with equal opportunity Nolan’s 1946–47 paintings on the theme of nineteenth-century to access this remarkable body of work. While its status bushranger Ned Kelly. The series was first painted while Nolan as one of the greatest sequences of Australian painting was living with Sunday and John Reed at their homestead of the twentieth century has been emphasised through Heide in Bulleen, Victoria. In 1977, Sunday Reed donated international displays at New York and Dublin, rarely has the twenty-five of the twenty-seven paintings to the NGA. Kelly series left Canberra, precluding large audiences from Earlier in 1972, the NGA had acquired one work from the the furthest states from viewing one of the most dynamic series, Death of Sergeant Kennedy at Stringybark Creek 1946. series of paintings in Australian art history. This exhibition These iconic works hold a prominent place in the story of will allow a new audience to become acquainted with the Australian art. Bushrangers have been a constant source important legacy of Sidney Nolan. of inspiration in Australian art, from William Strutt’s Bushrangers 1887 and Tom Roberts’s Bailed up 1895 through to the work contemporary artists such as Dale Frank and Nick Mitzevich Adam Cullen, who have painted numerous iterations of Director 5 Introduction In 2018, the National Gallery of Australia is embarking on an extensive travelling exhibition of Sidney Nolan’s Ned Kelly series to make these works accessible to audiences across the nation. It is fitting that the tour should commence some seventy years after they were first publicly exhibited, in April 1948, in the little- known Velasquez Gallery in Melbourne. This was the first public outing of this particular group of works, including one that was acquired from Clive Evatt and had been shown individually, and twenty-five gifted to the National Gallery in 1977 by Sunday Reed, that has become known as one of the greatest series in the history of Australian art. Nolan’s Ned Kelly series is a distillation of a complex, layered story set in the Victorian landscape and centred around a nineteenth-century bushranger and his gang who were on the run from the police. Landscape is a key element in the paintings—as Nolan said, ‘it began in the landscape and ended in the landscape’. The series also depends upon a loosely threaded but vital dramatic human narrative that has its catalyst with Constable Fitzpatrick and Kate Kelly 1946 in the domestic arena of the Kelly family home where a fracas occurs, and ends with The trial 1947, in a Melbourne courtroom where Ned Kelly is sentenced to death. The marriage of a feeling for the environment and human drama imbues these paintings with meaning and poetic resonance. While the legendary aspect is informed by social history, some of the paintings are embellished by Nolan’s lively imagination. Nolan painted the majority of these works in glossy enamel- like paint on the dining-room table at Heide, the home of John and Sunday Reed in the Melbourne suburb of Bulleen. The Reeds had a great library, including up-to-date art journals from Europe which provided great inspiration for 6 Nolan. He was deeply interested in European modernism and the sequence, Nolan was very clear that he wanted the also in local history. As an artist profoundly intrigued by myths group to start with Landscape 1947—a muddy environment, and legends, he sought to find abiding stories of his own place all moody and low-key tonalities—to set the scene. In an with which he was able to connect. In the 1940s, he found just interview with Elwyn Lynn in 1983, he gave his personal what he was looking for in the Kelly story. Nolan sought to interpretations, providing telling insights into his thinking, inform himself; reading the report on the Royal Commission albeit with the benefit of distance and hindsight. ‘I wanted a on the Police Force in Victoria, issued in 1881, as well as clear ambiguity because this was the tranquil scene for the JJ Kenneally’s The Inner History of the Kelly Gang and their subsequent violence.’ Not all the paintings are equally crucial Pursuers, 1929. He also travelled to what would become known to the narrative. Some are indicative of small incidents in the as ‘Kelly country’ with the writer Max Harris. records that caught Nolan’s robust imagination. These quiet non-events are interspersed with the dramatic occurrences. Personal and familial ties enter the story. Remarkably his grandfather, William Nolan, had been involved in the hunt There are gentle works of pure fabrication, like Quilting the for the Kelly gang in the Victorian countryside. There was armour 1947 of Ned’s sister Margaret ‘quilting the armour also some sense of personal identification for the young to protect a precious head done with tenderness and love, adventurous artist Sidney Nolan with Kelly as a ‘rebel while a peaceful world goes about its life’. It is the one work reformer’ and an outsider on the run. Before the Second that gives a feeling for small rural communities involved World War ended, he was something of an outlaw himself, in subsistence farming at the time. Then there are those in hiding from the police having absconded from the key works that convey a sense of the violent drama that drudgery of guarding supplies as part of his military service unfolded, like Death of Constable Scanlon and Burning at the previous year. While in the army he had soaked up the Glenrowan, both painted in 1946. It is precisely this alteration scintillating colour and light of the blue and gold landscapes in the pacing—from quiet to dramatic, from quirky, seemingly of the Wimmera which informed some of the Kelly paintings. irrelevant incidents to totally life-changing episodes—that However, close observation also reveals that the landscape give the series its dramatic, filmic qualities. across the series is actually remarkably varied. Fact and fiction intermingle. Certainly in real life, Ned Kelly The Kelly paintings were not created in the order in which only wore his bulky armour near the end of the drama, but they were initially exhibited. Instead, words extracted by for Nolan it becomes a vital, symbolic device from beginning Nolan from nineteenth-century records helped him to bring to end. The helmet is like a frame within the frame. The visor some sense of order to the first public exhibition of these within the helmet is another viewfinder—a slot to be seen works at the Velasquez Gallery. Looking across the grouping through, or filled with emotive colour and eyes askance. as they were shown in 1948 (and are largely shown to this The stark pared back, black square of the helmet was a day), there is a fascinating trajectory. Even though some stroke of brilliance. It did not appear without precedent but of the paintings are less crucial than others in determining came out of earlier works, including the simplified head in 7 Boy and the moon 1939–40. It also finds resonances with Kasimir Malevich’s famous Black square 1915, although Nolan remarked that the squares he saw in the work of László Moholy-Nagy were actually more relevant at the time. There were also other sources, but in the end it was the way that Nolan made this image his own, in this context, that endures. As he said in an interview with Elwyn Lynn in 1983: ‘This is Kelly the defiant. I put Kelly on top of his horse in a particularly orderly manner. I wanted an air of perfect authority. It looks simple but I wanted the maximum feeling of space, so the cloud appears through the aperture in the mask’. This Ned Kelly image captured the public imagination in ways that few others in the history of Australian art have done.